... modernism of yesterday. Much of it we can now see to have been ill-grasped, superficial and tentative; much, as in Chateaubriand and in Byron, was artificial, a pose and affectation; much, as in the French Romanticists, merely bizarre, overstrained and overcoloured; a later criticism condemned in it a tendency to inartistic excitement, looseness of form, an unintellectual shallowness or emptiness, an ill-balanced ...
... further said: "Much of it we can now see to have been ill-grasped, superficial and tentative; much, as in Chateaubriand and in Byron, was artificial, a pose and affectation; much, as in the French Romanticists, merely bizarre, overstrained and overcoloured; a later criticism condemned in it a tendency to inartistic excitement, looseness of form, an unintellectual shallowness or emptiness, an ill-balanced ...
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